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By Döblin, Alfred; Sebald, Winfried Georg; Döblin, Alfred; Kleinberg-Levin, David Michael; Sebald, Winfried Georg
Probing examine of ways literature can redeem the revelatory, redemptive powers of language.
In this probing examine Alfred Döblin’s 1929 novel Berlin Alexanderplatz and the tales of W. G. Sebald, Redeeming Words bargains a philosophical meditation at the strength of language in literature. David Kleinberg-Levin attracts at the serious concept of Benjamin and Adorno; the idealism and romanticism of Kant, Hegel, Hölderlin, Novalis, and Schelling; and the 19th- and twentieth-century considered Nietzsche, Heidegger, and Derrida. He indicates how Döblin and Sebald—writers with greatly assorted types operating in numerous ancient moments—have in universal a fight opposed to forces of negativity and an objective to lead to in reaction a undeniable redemption of language. Kleinberg-Levin considers the fast moving, staccato, and hard-cut sentences of Döblin and the ghostly, languorous, and depression prose fiction of Sebald to articulate how either writers use language in an try and get well and bring this utopian promise of happiness for all times in a time of mourning.
“Redeeming Words is a chic, hugely realized, and incisive exploration of ways language—and therefore the best literature of our time—both registers the event of the lack of utopia and affirms wish by way of making the loss extra transparent. It takes as its subject matter the main profound reflections at the position of phrases in a time of abandonment and disenchantment. Kleinberg-Levin argues not just that phrases speak this feeling of loss yet represent it by means of failing to accomplish overall mastery and transparency and self-consciously thematizing the corruption and in addition affirmative strength of phrases. on the private point, this learn analyzes phrases and what the very lifestyles of phrases can confer to participants and communities.” — Peter Fritzsche, writer of The Turbulent global of Franz Göll: a standard Berliner Writes the 20th Century
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Additional info for Redeeming Words: Language and the Promise of Happiness in the Stories of Döblin and Sebald
Sample text
We are living in a time of the most intense disenchantment. But Hegel’s philosophical narrative, its confession of belatedness in the interpretation of history-making events symbolically represented by the twilight flight of the owl of Minerva, was already haunted by the ghosts of the buried past, already troubled by its vision of the future, and already addressing a time of crisis and mourning. Threatening the teleological cheerfulness mistakenly read into Hegel’s narrative of historical progress, a speculative interpretation that in fact acknowledges the horror in a history he describes as a “slaughter bench,” PRO L OGU E / li there is a melancholy spirit abroad, a figure conceived in mourning, not only lamenting the questionability of a metaphysical dimension and undergoing an experience the meaning of which Nietzsche, some years later, will boldly call “the death of God,” but also lamenting, with a despair Hegel’s system of dialectical reason can in the end neither dispel nor conceal, all the missed opportunities and lost possibilities that have, in the course of history, betrayed the promise of happiness.
Where subject and object are united altogether and not only in part, that is, united in such a manner that no separation can be performed without violating the essence of what is to be separated, there and nowhere else being proper can be spoken, as is the case with intellectual intuition. In the years of his youth, Hölderlin’s skepticism—he would also call it “sobriety”—was severe; but our longing for the unconditioned, the Absolute, seemed to be, for him, sufficient to sustain the invocation of its absent, spectral presence.
41 And yet, he says, as he watches the world fall ever more rapidly into a catastrophic state, he finds himself feeling ever more keenly the need for a responsible literature—and a language capable of redeeming the things that ultimately matter. There is no God to save us. But there is, he believes, a solemn calling for the writer. 42 Is this “present” the utopian or messianic promise, a gift, not only conveyed in language but also constitutive of it? ]. ”43 And he explains thus his invocation of the “religious” dimension of the promise: “No to-come without some sort of messianic memory and promise, of a messianicity older than religion, more originary than all messianism.